G e r ri t
Centrale Markthal, Jan van Galenstraat 6, 1051 KM Amsterdam
R ietv e l d
A c a demie
Fr iday 24 J u ne showtimes: 18:00 19:30
F a s h ion
2 0 22
tickets available at rietveldacademie.nl/fashionshow
m ade possible by Keep an Eye Foundation, Meester Koetsier Foundation, BOEi, Markt Centraal and BAC Hoogwerkers
Marijn Abel, Amanda Bellman, Selma Carlsson, Eva Chauvin, Marie Jacquet, Lotte de Jager,
Enzo Aït Kaci, Kilian Mercadié, Papa Yorick, Marlene Stach, Inès Vivier

The Rietveld Academie Fashion department proudly presents its class of 2022:


A class that – despite a pandemic and other high impact factors that mark our time – has fully embraced their time at the Rietveld Academie, and that is now extra delighted to be able to share, and celebrate, their work with you.

In our Fashion department, students are encouraged to develop a deeply personal and critical approach to – or sometimes a departure from – fashion, aiming to change its material and immaterial culture and values, its narratives and traditions. As a result, our annual Fashion Show presents a diverse landscape of fashion related work, anticipating possible practices in or beyond the fashion work field.

You are invited into their universes, to participate in it and to engage in the conversations they hope to start. As from here on, their work will be in the hands of those who get to perceive it, reflect on it and carry it further into the world and into real life. Where it matters.



Head of Fashion Department: NIELS KLAVERS
Deputy to the head: MO VELD
Show Production: PY TSWANG JIN
Technical Production: PARTYZAAN
Show Photography: SANNE PEPER
Graphic Design and Website: HAGAR VAN DER KNIJFF
with assistance of ERIK VAN SCHENK BRIL
Crew catering OH MY GUTS

Gerrit Rietveld Academie Fashion Show 2021 is made possible with the generous support of Keep an Eye Foundation, Meester Koetsier Foundation, BOEi, Markt Centraal and Bac Hoogwerkers

Special thanks to the Executive Board of the Gerrit Rietveld Academie; Centrale Markthal; tutors of the Fashion department: Eduardo Leon Herrera, Oscar Raaijmakers, Ferdinand Schmeits, Philipp Schueller, Mo Veld, Riëtte Wanders and assistants Ting Gong and Gosha Woch; the Graphic Design department: Bart de Baets, Hagar van der Knijff; the Fashion Workshop: Sonja Kip; the Textile Workshop: Sanne Bax, Nicky den Breejen, Ea Polman, Berber Soepboer; guest teachers: Emirhan Akin, Stephanie Baechler, Anouk Beckers, Lenn Cox, Saskia van Drimmelen, Ernst van der Hoeven, Sanne Karssenberg, Sandra Kassenaar, Michiel Keuper, Anouk van Klaveren, Anouchka Oler, Mika Perlmutter, Pernilla Philip, Charlie Porter, Hendrickje Schimmel, Marnie Slater, Margreet Sweerts, Simon Wald-Lasowski, Young Boy Dancing Group, Rolien Zonneveld; external examiner Duran Lantink; internship relations: AvoidStreet, Anna Castellano, Babi_Reni, Hodakova, Jan Hoek, Calvin Klein, Louise Lyngh Bjerregaard, Verena Michels, nicchi, Ninamounah, Francesca Parise, Johanna Parv, Steven Passaro, Vaquera; Public Rietveld: Joseefke Brabander, Sophia Zürcher; Birna Bjornsdottir; GRA Audio Visual Services: Jeroen Vermandere; Ruben Janssen; Vette Mette and many more.


This website is made for the Gerrit Rietveld Academie Fashion Show 2022

Graphic design: HAGAR VAN DER KNIJFF
Coördinated and coached by: PY TSWANG JIN, PUBLIC RIETVELD
Copy editor: MO VELD




Born one way and becoming myself, I aim to see people grow by realising the power of their individuality.

My projects are always socially engaged. It starts with me talking to people, about their life, their positions within society. My brain sparks at seeing joy within people about themselves, it sparks at addressing tough subjects, at the feeling of a true sense of self.

The human power I am working with off late is the ability to revel in your gender, to show gender so genuinely, you feel elated with the simple sight of yourself. Gender Euphoria.

For my current project, I started with at least two 1-hour conversations with each of my muses, where we spoke about what we enjoyed as children, whom we looked up to, what articles of clothing brought us joy, made us feel safe. What shaped our perception of ourselves, and which of these elements were true to ourselves, and which were pushed onto us by societal norms? I curated our conversations to make an overview for myself, to find elements of their gender that kept returning, or made a clear impact.

These inspired sets of illustrations translated into fabric applications, placed into suits... Their gender, worn loud and proud. Ultimately, I long for my muses to recognize themselves within my work, and for others to get enticed into dialogue or thinking. What made you? Who are you?

A special thanks to the following people: Bebe, for inspiring me to no end; Yvonne, for showing me strength; Mira, for making me see the fun in my project; Yassir, for the unbridled enthusiasm of youth; Anouk, for her everlasting support and love; Niels, for the fun conversations; Jan Hoek for guiding me; Applepie, for being a loving critical eye; my dear mother Swaan and father Pieter for being there for me. And last but not least, thanks to my dog Sibbe, for ensuring I stay sane and take a break regularly.

Marijn Swildens (1998, Monnickendam, The Netherlands) a.k.a. Marijn Abel is a socially engaged designer who works with clothes and conversations as a medium. Being a trans and bisexual man, he finds joy within the overlooked aspects of our individuality and likes to bring them to light.




'Are we there yet?'

When I was a child, I always saw the car as a game. Sitting in the backseat, looking out the window, counting things we would pass by or looking through the front window, squeezing my eyes almost shut, blurring my vision, and imagining the white lines being animated like in a video game.

My graduation project is centred around the idea of growing up, the body in relation to the car and how time and space is perceived within and through the moving vehicle. Having the bodies carrying the collection depict the emotional journey of growth within an enclosed space, by playing with the distance of the inside and the outside of the vessel. From the beginning to the end, I’ve developed evolving knitting techniques to support the concept of coming-of-age, controlled to unleashed, structured to unravelled.

Fashion to me is a storytelling tool, where clothing can appear from technical and intuitive handcraftmanship or well-tailored shoulder pads.

Amanda wants to thank; mom, dad, Samuel Fuentes, Tomas Queiroz, Beate Bloch Christensen, Hanne Johne, Lucía Vives, Selma Carlsson, Elsa Holmström, Anne-Marie Dimanche, Juhee Han, Agnė Bučiūnaitė, Ilya Strasevich, Catherine Hu, Omri Roden, Vladi Stanoi, Henrik de Laval, Jenny Lindahl, Jamal Ibrahim, Eduardo Leon Herrera, Oscar Raaijmakers, Mo Veld, Ferdinand Schmeits, Niels Klavers, Nicky den Breejen, Philipp Schueller, Ernst van der Hoeven, Riette Wanders, Sonja Kip and Eccoleather.

Amanda Bellman (1997, Västerås, Sweden) – being born to a textile enthusiastic mother – led her to specialize in knitwear, where she challenges the technical range to support the concept and ultimately tell a story. A restless soul, having spent many of her younger years moving around, from Stockholm to Buenos Aires to Paris, Amanda’s next diploma is very likely to be her motorcycle license.




'Slalom slalom, baby'

In my work I am intrigued by the idea of hyper functionality and engineering silhouettes for specific situations and unreal scenarios.

My graduation work ‘Slalom slalom, baby’ consists of a collection of four looks and a video showing the garments in motion. Skiwear is one of the most distinct categories of dress, bordering on costume. It has been shaped by three notable influences. The first is practical; retaining warmth and ease of movement. The second is economic; skiing has traditionally been an expensive sport for the upper class. And third; fashion, the desire to look good whilst performing the sport.

The silliness, the humour and element of costume opposed to the hyper technicality of skiwear I find intriguing. It is fashion as a layer of absurdity, combined with the performativity of sportwear – a juxtaposition of humour and hyper seriousness, tacky and clean.

Thank you, Ski-mere, Minke Jorritsma, Jane Dielingen, Ilse Schenk, Giovanni Salice, Rebecka Hultman, Amanda Bellman, Olle Hjelm, The Anna Whitlock memorial fund and to all my friends and family.

Selma Carlsson (1996, Stockholm, Sweden) works with ideas of engineered functionality and non-functionality, the symbiosis of clean and tacky, absurdism and craftsmanship. In 2021 Selma interned at Hodakovain Stockholm and at Johanna Parv in London, and participated in the Inhuman Carnival project by Mediamatic during Dutch Design Week.




'Eva's dream'

I make clothes and sculptures inspired by my everyday life. Everything that surrounds me can be useful in my process. Doing the dishes at my job, going to the grocery store or enduring the cries of kids during babysitting – I am inspired by the absurdity of these situations. I use them to create stories with the garments and objects I make, by photographing or filming them. I need to create my own world; it allows me to dream and to make possible who I would like to become.

My work is also a place to question my identity. It allows me to play with my femininity – it is a way to embrace it and to use it as a strength. The relationship to objects from the domestic space is always present in my work. I went from making clothes to sculptures in ceramic, playing with the boundaries between clothes and objects, art and fashion. Take a giant pink hairbrush in ceramic for example, based on a doll's hairbrush from the children I was babysitting. Or a garment for a chair and lace household gloves. I mix nostalgia from my childhood with my fear of getting older, adding humour by using surrealist undertones.

In my graduation project, I am recreating the wardrobe of my dreams. It is frozen in time in ceramics, paradoxically inaccessible by becoming unwearable. This collection of bags, shoes and clothes has mutated into a surreal porcelain ensemble, condemned to be admired, as simple objects of decoration.

I would like to thank the Ceramics department of the Gerrit Rietveld Academie, Claire Verkoyen and Marja Kennis, Sacha Cardoso and Oscar Raaijmakers.

Eva Chauvin (1998, Argenteuil, France) studied fashion design in Paris prior to entering directly in the Rietveld fashion department’s first specialization year. Eva has worked as a stylist assistant at Moon Young Hee in Paris (2018), and as an intern for the stylist Francesca Parise in Paris (2021).




'The TrenchKit'

Amsterdam, Monday 28th of March: 22 degrees, very sunny, Thursday 31st of March: 4 degrees, hail and snow. Four seasons in one week, sometimes even several seasons in the same day. As the weather changes more rapidly and drastically, it is more difficult for us to keep up in terms of clothing. For that reason, I created a modular coat that can be worn in any weather. It consists of a simple coat base and many items that can be connected to it with a hook system. There is for example the waterproof back flap, the puffed hood, different types of pockets. The items are designed as mini collections to meet different weather needs.

Inspired by architecture, especially by graphic lines and geometric shapes, I wanted to create a simple and minimalist coat base, especially so that it would be timeless and more likely be worn by the wearer through the years. The items, which can be layered on top of it, contrast with their sharp shapes, textures and

To create them I mainly use fabrics that I recycled and repurposed like curtains and bedsheets, or fabrics that were sleeping in my parents’ and grandparents’ closets and finally some that I find in second hand stores. Using and recycling existing materials is important to me, for ecological reasons, but also for sentimental reasons – I like their vintage and
unique aspect.

I want to thank my models and TK crew, my friends for their support, my teachers Oscar Raaijmakers, Ferdinand Schmeits and Sonja Kip for their support and advice.

Marie Jacquet (1999, Paris, France) caught on to the issue of sustainability in fashion design ever since she constructed a waterproof coat out of the plastic material covering her new IKEA mattrass for a design class in the Basic Year of Rietveld. Interning at Steven Passaro in Paris (2021) cemented her penchant for responsible design as well as for a good coat.






'the Dirt'

Being affected by chronic back pains throughout my whole life, I have become invested in connecting to my body and investigating the histories that it harbors. In our global economic system, human bodies as well as plants and animals are being structurally abused, with excruciating inequalities and ecosystem degradation as a result. The fashion industry is heavily implicated in this fast-paced system of unequal economic exchange and exploitation. Rather than spending my design efforts on producing a new collection of garments and shapes, I therefore redesign ways in which we can live
fashion moments in a zero-emission way.

By using the human body and movement as my primary fabric I explore ways of its capitalist tendencies. ‘The Dirt’ is a fashion choreography that asks you to reconsider your own body as a centerpiece to the fashion system. Reconnecting to our own body can help us reconnect to other bodies again, human and terrestrial, and promote a world that lives in symbiosis. In this line of thought I would like to amend Donna Haraway’s famous statement by inviting you to ‘make kin, not garments’.

bodies: Yitu Butu, Lotte de Jager, June Ohashi, Josefine Aavild Rahn, Naomi Roovers, Sammie Straub, Virginia Vivaldi choreography: Elisa Zuppini production: Aida Gai, Larissa de Jager photography: Trees Heil creative direction: Lotte de Jager special gratitude to: Lady van Bag, Lydia Schouten

Lotte de Jager (1994, Amsterdam, The Netherlands) aims to design contexts as opposed to collections. Studied Geology at the University of Amsterdam prior to entering the Rietveld. Interned for Jan Hoek and Ninamounah in Amsterdam (2021) and Drawing a Blank art gallery in London (2022). Currently working as gallery manager at Outsiderland in Amsterdam.





'360° full rotation'

My work can be seen as sitting at the intersection of fashion and graphic design. I research how fashion designers can resist the mass production of online images.

The internet represents the first cultural space I have been fascinated with. Since then, this digital sphere, where information and pictures are easily reproduced and copied, has become my main source of inspiration. I see the internet as a cultural space of high-jacking, where new meanings are added to already existing sources.

For my graduation, I have explored the value of fashion imagery through this digital prism – taking into account the way the videogame industry, information networks and photo-editing software affect fashion production. Along the way I constructed a new system of designing. With the use of technology and craft, I have produced a visual circuit to develop fabric prints and garments. The garment circulates in an endless cycle and shifts between analogue and digital realities.

My thanks to my mom, my grandmother, my friends, my collaborators and my teachers.

Enzo Aït Kaci (1998, Le Blanc -Mesnil, France) creates garments with textile printing techniques and image-editing software. Prior to his fashion curriculum he studied graphic design and digital communication at Ecole Estienne, Paris (2016-2018). Enzo worked as Artist assistant for silkscreen artist and developer Bernard Bousquetin Paris (2019).




'Land on your own moon'

Through the prism of fashion design, I explore the relationship between craftsmanship and technology, seeing how virtual imagery can be layered with physical interventions to develop and present clothing, and how virtual tools can influence research on how to repurpose existing materials. These interventions and alterations come in the form of embroideries, laser engravings, digital prints, and are defined by pre-existing/found online visuals. My current project aims to physically recreate visuals born from the mind of an artificial intelligence.

A dialogue happens in which the images created within the computer are materialized through computer assisted techniques to then be sewn, brought back to the body or in the shape of accessories. Photographed, filmed, scanned, the material object takes digital form again.

As it also questions our obsession with fiction, my work tends to be highly referential, mostly drawing its inspirations from the horror and science fiction genres, which I explore and reinterpret through clothing, photography, video, printed matters and paintings.

I would like to thank my parents and sisters, Chronic Pain, Raphaël Michel, Kiki Gordon, Robin Isenmann, Maddy Caldwell, Oline Bronée, Felix Keslassy, Félicie Vitrai, Olivia Sahl Jensen, Mads Hemmingsen, Masha Ryabova, Nicholas Riis, ECCO Leather, Nicky den Breejen, and my teachers for their precious guidance and involvement.

Kilian Mercadié (1999, Bordeaux, France) explores the relationships between clothing/accessory making and fiction depicted through digital imagery, and will pursue further research into artificial intelligence in connection to repurposing existing materials during a Master program in Paris next year. Kilian worked as bag making & leatherwork design assistant at nicchi in 2021. A selection of his work is showcased on online marketplace APOC Store.





'Title 18'

I am fetishizing people. I have been obsessed with the idea of what people want to look like and how they are perceived by others. It is as if people consume each other to then be spat out by one another. After, they are standing perfectly in line again. I find beauty in this, or rather: I am happily disgusted by the terror of the need for belonging to and disposing ourselves. In this, I see a language that stages opposition. By using this opposition, I alter existing narratives. My goal is not to create a new narrative: I just like to disturb people’s perception of things. I guess I am just not really interested in something that stays the same.

In addition, bringing people together to collaborate on my projects is a huge part of my practice. I seek people whose personalities are uncompromisable. That’s what I find sexy to work with. In my graduation project I work with multiple people, giving them the freedom to create.

My graduation project centers the idea of gay porn as a narrative. Porn is a fantastical realm that does not reflect the real world. It simply mirrors us. In my project I am restaging archetypes in gay porn that trademark basicness, like the boy next door who wears the most boring outfit ever: cargo shorts and a muted coloured T-shirt.

Papa Yorick wishes to thank: Mama, Nicky, Martijn, Ana Resende, Anna Plowden, Anthony Valdez, Hala Namer, Julius Stahlie, Luke Plowden, Maxi Abraham, Patti Cramer, Rémy Gardouch, Senakirfa Abraham, Yara Saïd, Bekker-la Bastide-Fonds, Marieke Neesen-Barten, M.C. de Visser Fonds, and Schuurman-Schimmel van Outeren Stichting.

Yorick Westerkamp (1997, Alkmaar, The Netherlands) a.k.a. Papa Yorick worked as a studio assistant at Ellery in Paris (2016-2017) and as a design assistant at Vaquera in New York City (2021-2022).




'Sight to Site'

I get inspired by memorizing houses I have lived in before or objects that shifted from being a commodity to a container of my immaterial thoughts – becoming nostalgic along the way. In my work the house becomes an allegory for intimacy.

My work consists of room installations that simulate an ongoing complete world, capturing continuous moments in still lives, freezing the unnoticed in-between.

I find it intriguing to encapsulate ephemeral sensations such as a bend in the light or the traces of a lived day like dumped clothes on a chair; moments in our daily life that are usually destined to adapt, change or disappear.

By fossilizing a dropped piece of clothing or working with moulding techniques to recreate objects with a vacuum machine, from wax, glass or epoxy, I am conserving traces of my
daily life.

Re-moulding and reproducing objects, unpicking materials, reversing the inside out are the main techniques I like to work with. They are simulating the act of memorizing; the fiction that makes up our reality and shifts a little each time we recall it. Damaged by time, half remembered, partially visualized.

You are warmly invited to visit my presentation during the Graduation Show at the Gerrit Rietveld Academie from 6 until 10 July.

Special thanks to my family, teachers that guided me along the study at Rietveld in a particular way; Erik Mattijssen, Oscar Raaijmakers, Riette Wanders, Sonja Kip and to my roommate Noa Bar Orian.

Marlene Stach (1999, Darmstadt, Germany) worked in a graphic design studio in her home town (2016-2017) prior to entering the Rietveld. During her studies she interned with designer and Rietveld Fashion alumna Verena Michels in Berlin (2021).




'just clothes'

The clothes I made are distillations from 'normal clothing' observation. What I find interesting in clothes-grasping is how a vision can change what objects can be or look like. It starts with physical shapes of wearable items, for what we see around us is practical for daily life. We wrap ourselves in
convenient pieces – to a certain extent, which ideally fill up specific meanings and looks. These pieces move with us as we evolve in them.

And while considering, shapes and meanings open up. One can frame different perspectives on body items. Anything can become what you want, for a thought on something is as valuable as the physical thing itself. Glances become tools, shaping together with body items.

But in order to tell widely, clothes should be considered in any posture. Worn by wearers. Scrunched on the floor, taken off for passion or meticulously folded. Spread on a drying rack, resting on hangers. Stretching along arms, any arms, staining, adding, shaping with a chair, a chair-body, interacting...

It says of use. It says of life. Plainly linking chairs and bodies, furniture and organicities, stills and movements, has entertained my thoughts for a year. Taking metros, trains and planes, amongst crowded places, I have observed people. I have stared and have been stared at. And considered.

Wearers. Clothes hanging on their bodies, clothes hanging on their chairs. I have seen clothing as crowds. Have sketched them on chairs. Figured them as abstractions.

"I am deadly attracted to you, all of you. For us it is an understanding of bodily understandable items. You can stare and see. But you can also close your eyes as we imagine each other. All of us."

Current pieces slide in between figuration of 'normal clothing pieces' and abstractions of a 'observed shaped pieces'. 'Gathering' stands amongst drawings that draft all clothing aspects. It is the crowd. It is my crowd.

I would wish to thank all and everything that helped shape this project, it would be long. I thank nights that have kept me awake. I thank black and white also, for they sense shaping of completely detachable matters, provide words on paper and drafts to sheets. I thank people who made and make sense to me. Those I care about, whose presences fed this whole word. They are too many, they know who they are. They are my crowd. I thank people who wore my clothes, my wearers. I chose all of you for a reason, aiming to provide you with pleasant feelings. I made clothes for you, you drafted them. I owe you a lot. My clothes and words are not much, you are all. Yet I will continue to un-finish clothing.

“I’m just a child” Inès Vivier (1998, Paris, France) took a gap year during her time at Rietveld to study History of Art and Aesthetics in Paris in combination with several advanced courses in handcrafted embroidery at École Lesage.